david gilmour delay settings david gilmour delay settings

David maintained his Echorecs well and replaced them often however, so his sound only had minimal high end roll-off in the repeats. MXR Digital Delay System II showing David's knob settings, Part of the effects rack from David's 1994 Pink Floyd tour rig with the MXR Digital Delay System II mounted in the middle, David's MXR Digital Delay System II rack unit from the On an Island tour showing a note for One of These Days - gated tremolo section isolated. Syd's theme: 370ms and 480ms We are a participant in several affiliate programs including but not limited to the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. there is no delay on the studio recording, but the multiple multi-tracked guitars playing slightly out of time with eachother make it sound like there is delay. Some delays that can do this are the Boss DD2/3, TC Electronics Nova Delay, Providence Chrono Delay, Boss DD20, Free The Tone Flight Time, Eventide Timefactor, Strymon Timeline, Empress Super Delay, EHX Deluxe Memory Man, TC 2290, MXR Delay System II, and many others. solos: 540ms, What Do you Want From Me? -, David Gilmour interview by Bob Hewitt from Guitarist, June 1986, FINDING THE "TRIPLET" TIME DELAY FOR A SONG. To figure a 4/4 dealy time to work with any 3/4 triplet delay time, you can split the 3/4 time delay into thirds. Next cut that delay time in half so you hear two repeats per beat, or 2/4 time. The long delay, and multi tracked guitars add to the smooth, lquid feel of the notes. slide guitar: 440ms -- feedback: 5-6 repeats -- delay level: 30-35% -- delay type: analog Syd's theme: 375ms and 500ms Some songs require softer, warmer analog sounding repeats, and others require cleaner, more accurate digital delay repeats. It sounds very complex because the delay is filling in and creating a rhythm in between the notes David plays, but it is actually rather simple to do. Below is an example of replicating the Syd's Theme delays from 1994. Some of the other Program Select positions work for the Time intro too, like position 12. Another interesting effect heard in the middle section of One of These Days is the use of that same "triplet" time delay along with a gated tremolo effect. This creates a different bouncy feel to the delay rhythm. David primarily used the Binson Echorec delay/echo unit for his early work with Pink Floyd. Echorec Style Delay Jamming - 428ms and 570ms. solo: 540ms -- feedback: 4-5 repeats -- delay level: 18-20% -- delay type: analog, Any Colour You Like - 1994 live versions: Run Like Hell - Delay Rhythm Guitars Mixed Up Front - both channels, Run Like Hell - Sustained Chords Mixed Up Front, Run Like Hell - Verse Fills Mixed Up Front, Run Like Hell Live Excerpts - from Is There Anybody Out There - The Wall live 1980-81, David Gilmour live in 1984, the Delicate Sound of Thunder, and Pulse. Often what I hear in the recordings is just natural room or hall reverb. So why don't you hear the repeats most of the time? Tweaking the delay time was simply more tweakable on the MXR Digital Delay. David usually used positions 1-4, for single playback repeats of heads 1-4. The specific delays he used were as I said the Binson Echorec, the MXR M-113 Digital Delay, and the TC Electronic 2290. If you look at head 4 as 4/4 time, the others would break down like this: Head 4 = 4/4 In the 80s and 90s David would mostly use digital rack models such as the TC Electronic 2290. 540ms, Take A Breath: This pedal was a little easier to use than the Binson, and its the exact delay you can hear in The Wall. The delay volume is often not very loud in the studio recordings, so in a full band context, the other instruments mask the repeats. Find the proper delay time for the song as described above, then let's do some "Echorec math". You should keep in mind that these official recordings have been sweetened to sound as good as possible. Kits Secret Guitar, Gear, and Music Page. The main rythm in the left and right channels of the studio recording is domantly the 3/4 time. slide violin intro: 300ms -- feedback: 8-9 repeats - delay level: 90-100% -- delay type: analog Reverb was also added at the mixing desk when recording or mixing. They want to play and sound just like the man himself. middle section: 1000ms -- feedback: 4-5 repeats Using spring or digital reverb does not even get close, but some people struggle getting a delay pedal to sound right. David Gilmour adjusting his MXR rack effects from April 1984, including the MXR 113 Digital Delay, and MXR Digital Delay System II. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? It's actually a metallic disc that spins around. I have two units, and I have different echo settings on both. Set the delay time so the repeats are in time with the song tempo (beats per minute) or drum beat, approximately one repeat for every beat. delay 1: 380ms -- feedback 10-12 repeats - delay level: 95% -- delay type: digital The tempo is much slower, but the delay is played in 3/4 "triplet" time, exactly like RLH. delay time: 450ms -- feedback: 7-8 repeats -- delay level: 25% -- delay type: analog/digital mix, Another Brick in the Wall Part II (live): For the delay, my favorite for this song is the old Boss DD-2, but any good digital delay will work. Bass: 5-6. David is using two delays from a PCM70 rack delay to simulate the Echorec sound. The Blue - 2016/15 live version: Below is an example of the Syd's Theme section of Shine on You Crazy Diamond from Pink Floyd's 1994 tour. But which delay pedal (s) does/did he use? Brian Eno did something similar later in the early-mid '1970s with his famous reel-to-reel frippertronics tape delay effect. Its hard to give an estimate as every pedal will respond differently. Dan's Pick No.1: Pro-Co RAT (79) David Gilmour, or Dave to his friends, has had a constant development of tone over the four decades he's been knocking around making classic album after classic album. Time intro test with backing track - 470ms and 94ms. It also had a similar Sweep section to create chorus and flange effects, but every photo I can find showing this rack delay in David's live rigs shows the sweep knobs set to zero. HOW TO FIND THE PROPER DELAY TIMES - You can go here for a song-by-song list of Gilmour's delay times, but it is easy to find a delay time that works with a song tempo, even if you can't clearly hear the echo repeats when listening. Verse / Chorus : TC 2290 Digital Delay: 430ms The plate reverb sound is the best to use for Gilmour tones in my opinion, but minimally. The SDE 3000 was set for a 1500ms delay, giving approximately 20-30 seconds of regenrated delay repeats. The beginning and end of each tremolo pulse or "wave" is gated and clipped off, rather than ramping up and down like a soft wave. The amp David used for the RLH studio recording is not known, but presumably it was a Hiwatt or Mesa Boogie Mark I. Pink Floyds and Gilmours music is timeless, and the albums are a must-listen for any musician who wishes to define and expand genres. This 3/4 and 4/4 delay can be used for more than just some Echorec effects. There are lots of different ways to use two delays at once for an integrated rhythm like this, so use your ears and experiment.. It helps to have the echo repeats of the first delay fall right in between, or on the repeats of the second delay, so it has a rhtmic feel. second solo before verse: 350ms -- feedback: 3-4 repeats solo: 430ms -- feedback: 5-6 repeats - delay level: 15% -- delay type: analog, Keep Talking: Here is a breakdown from the Great Gig multi tracks. Read an explanation about how this is achieved here. 1st delay 428ms. I think the 2290 mode on the Flashback does very well for playing anything Gilmour, and if you check out some of Bjorn Riis's Floyd jams on . The maximum delay time of the Echorec 2 is not long enough for RLH, but David's PE 603 Echorec max delay time was 377-380ms, which is the RLH delay time. HOW DO I REPLICATE THAT SMOOTH GILMOUR DELAY SOUND? In fact, there was a time when Pink Floyds original road manager, Peter Watts, and I were the only two people who could actually maintain a Binson.They are so noisy, and I guess all the ones weve got now are so old that it is impossible to keep them noise free. a`Its very reliable, just like the MXR, but its much more versatile and teachable. This was most likely a reel-to reel recorder set up for a tape-loop delay. If you are playing at home on your amp with delay, the delay sound will be much more apparent than when you are playing with a full band, where the delay repeats will blend in the band mix much better. It still retained the warmth of the original signal rather well, but there is no high end roll-off in the repeats, so it is not "warm" analog delay in that regard. See all posts by Andrew Bell. alternate: 380ms, High Hopes - 2015/16 live version: intro: 650ms, Coming Back To Life - 2015/16 live version: for providing some of the delay times and to Will for compiling a list of the 2015/16 tour delay times seen on David's digital delays! I have occasionally used spring reverb from an amplifier, but set very low so there is just a hint of that sound. The Echorec playback heads were spaced so the input signal would repeat at specific intervals, adding delay repeats upon delay repeats. He began using digital delays in place of the Echorec around 1977. The repeats had a warm high end roll off, similar to David's Binson Echorecs. This is also one of the few Gilmour solos that features a heavy reverb effect, so it does not sound the same with delay only. Run Like Hell with 380ms and 254ms delays in series - first is 380ms delay in the left channel, then 380ms+254ms in the right channel. One of These Days - 294ms delay + vibratto. I use the Tremotron from Stone Deaf Effects for this. 2nd delay 94ms. David has used many different types of compressors throughout his career, but a few common ones are the MXR Dynacomp, Boss CS-2, and Demeter Compulator. He also used an Echorec PE 603 model from 1971-75 that had a maximum delay time of around 377-380ms. (requires a volume pedal before the delay in signal chain to create the volume swells), Castellorizon: He did sometimes use the Swell mode. You might be tempted to make it ear piercingly loud, but trust me on this, a little goes a long way, especially when playing with other people. There is a 440ms delay on the guitars in the studio recording. 2,434. 520ms -- feedback: 4-5 repeats, Obscured by Clouds: For David's 2006 rig one output from his Mk 2 Cornish-built pedalboard went to his main Hiwatt amp and 4x12 speaker cabinets. - Pulse version (TC 2290 Digital Delay): Hey You - Pulse version (TC 2290 Digital Delay): Money solo - studio version - multiple guitar tracks were recorded with different delay times (Binson Echorec 2 and Binson PE603): Money solos - live 1977 version (MXR Digital Delay System I): Money solos- Pulse version (TC2290 Digital Delay): One of These Days studio version (Binson Echorec): One Of These Days - 2015/16 live version: On the Run (The Traveling Section) - early live guitar version from 1972 (Echorec PE 603): On The Turning Away - 1991 live Amnesty International Big 3 O version: On The Turning Away - Pulse version (TC 2290 Digital Delay): Poles Apart - Pulse version (TC 2290 Digital Delay): Rattle That Lock - 2016/15 Live version: Run Like Hell - two guitars multi-tracked (delay used was likely the MXR M113 Digital Delay): Run Like Hell - 1984 live versions - two delays in series, each with a different delay time (MXR M113 Digital Delay and Boss DD-2): Run Like Hell - Delicate Sound of Thunder and Pulse - two delays in series (TC 2290 Digital Delay for main delay + 2290 ADT effect): Shine On You Crazy Diamond I-V (Binson Echorec): Shine On You Crazy Diamond VI-IX (Binson Echorec): Shine On You Crazy Diamond I-V - 1987-89 live version: Shine On You Crazy Diamond I-V - 1994 live / Pulse version (TC 2290 Digital Delay): Shine On You Crazy Diamond I-V Syds theme - 2016/15 Live version: Short and Sweet - David Gilmour live 1984 version (Boss DD-2): Sorrow Solo and intro/outro - Delicate Sound of Thunder version (TC 2290 Digital Delay): Sorrow Intro / Outro - Pulse version (TC 2290 Digital Delay): Sorrow Solo - Pulse version (TC 2290 Digital Delay): Time - Pulse version (TC 2290 Digital Delay): Time - Delicate Sound of Thunder version (TC 2290 Digital Delay) : Us and Them - Pulse version (TC 2290 Digital Delay): *While I did a ton of work figuring out many of these delay times, a big thanks goes to Raf and the fine folks at the. What delay pedal does David Gilmour? 1st delay 240ms. That delayed chord would ring on through the second Hiwatt for approximately 20-30 seconds before decaying, simulating a sustained keyboard chord. USING TWO DELAYS AT ONCE - David has sometimes simultaneously used two separate delays with different delay times to create a larger sound, similar to what can be accomplished with the multi heads on an Binson Echorec. How to Set Two Delays for Run Like Hell - one in 380ms and one in 507ms, in series so the 380ms delay is repeated by the 507ms delay (actual DD-2 settings shown above), Example of Two Delays Run In Stereo - parallel delays, 380ms (both channels) and 507ms (right channel only), going to separate amps, Example of Two Delays Run In Stereo - prallel delays, 380ms (left channel) and 507ms (right channel), going to separate amps. The delay used must have a "kill dry" or "dry defeat" mode, which means ONLY the 100% wet delay signal is sent to the output of the delay, none of the dry signal. What is interesting about this performance is that it is probably the only time David is known to have used a tape delay. E.g the RATE for most settings had been about 22 more clockwise (slightly faster sweep) on the Wall compared to the Animals tour. fourth solo: 40-50-ms slapback delay -- feedback: 1 repeat, Echoes To get the 4/4 time delay, simply multiply 126.7 x 4 = 506.8ms. FINDING THE "TRIPLET" TIME DELAY FOR A SONG - David has sometimes used a rhythmic 3/4 time delay, what he calls "triplet" time. Delay Level: This is the volume level of the delay repeat compared to the original signal. The simplest option is to use an online Beats Per Minute caculator, like, - David from Guitar Player Magazine, November 1984, I have a bunch of pedals - 4 DDL's - which I use in different combinations, MXR Digitals and the little Boss DD2'sI usually have one DDL with a short single slap on it. I have one for specific time settings, for things like, , so I know in numbers (delay time in milliseconds) what setting I need to use.